The Italian musical environment during the 1750s was characterised by composers on the threshold between galante and early classical such as Niccolò Jommelli and Giovanni Battista Pergolesi.
In Stuttgart, he created the set designs for operas of Niccolò Jommelli, and the ballets of Jean-Georges Noverre.
His first opera seria, Ricimero re di Goti, was such a success in Rome in 1740 that work was immediately commissioned from him by Henry Benedict Stuart, the Cardinal-Duke of York.
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Vologeso (Ludwigsburg, 1766) – libretto by Mattia Verazi
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Many were staged at the Duke's private theatres in the Palace of Ludwigsburg, outside Stuttgart.
Niccolò Machiavelli | Niccolò Paganini | Niccolò Jommelli | Niccolò Ammaniti | Niccolo Jommelli | Niccolò da Tolentino | Giovanni Niccolò Servandoni | Niccolò Zucchi | Niccolò Tommaseo | Niccolò Piccinino | Niccolò Ludovisi | Niccolo Tommaseo | Niccolo Rondinelli | Niccolò Rinaldi | Niccolò Piccinni | Niccolò Pandolfini | Niccolò Orlandini | Niccolò Machiavelli | Niccolò III d'Este, Marquis of Ferrara | Niccolò III d'Este | Niccolò Fontana Tartaglia | Niccolò di Segna | Niccolò di Pietro Gerini | Niccolò dell'Abbate | Niccolò de' Conti | Niccolò Cassana | Niccolò Albergati | Equestrian Statue of Niccolò da Tolentino |
Among the Cappella Giulia's choir masters were esteemed names such as Giovanni Pierluigi da Palestrina (1551–1554 and 1571–1594), Giovanni Animuccia, Francesco Soriano, Stefano Fabri, Orazio Benevoli, Domenico Scarlatti, Niccolò Jommelli, Pietro Raimondi, Salvatore Meluzzi, and Niccolò Antonio Zingarelli.
Between 1704 and 1708 he worked at the Conservatorio Sant'Onofrio, but from 1705 to 1740 he was based at the Conservatorio della Pietà dei Turchini, where his pupils included Leonardo Leo, Francesco Feo, Giuseppe de Majo, Niccolo Jommelli, Nicola Sala, Michele de Falco, Carmine Giordani as well as his own son Lorenzo Fago.